Edited By Martin Hentschel. Essays by Martin Hentschel and Robert Rosenblum.

Published by Mousse Publishing.Edited with text by Peter Doroshenko.

Eric Fischl (born 1948) is one of a handful of contemporary painters who regularly employs sourced images, culled from the internet, newspapers and magazines in his paintings. This catalog spotlights art's consistent presence—be it front and center or in the background—in Fischl's work over the past four decades.

American painter, sculptor and printmaker Eric Fischl (born 1948) is internationally known for his unusual nude paintings, featuring couples and families, which explore tensions between sexuality and power. Many of his works specifically address coming-of-age moments, blossoming sexual awareness and voyeurism--the paintings "Bad Boy" (1981) and "Birthday Boy" (1983) both depict young boys looking at older women in provocative poses on a bed. A charged, oppressive sexual atmosphere often permeates his scenes and overshadows the relationships depicted. In contrast to the bizarre and often unsettling content of his work is Fischl’s bright color palette, with its lurid deep yellow and red tones. This catalogue focuses on Fischl’s graphic work, showing a cross-section of his substantial printoeuvre. Also included is an interview by Lawrence Weschler.

Published by Skarsdedt.Text by Phyllis Tuchman.

Eric Fischl: Early Paintings focuses on nine of Fischl’s paintings from 1979 to 1989, and reintroduces the work that first established him as a postmodern Edward Hopper and significant American artist. In these now classic, voyeuristic scenes of American everyday life in backyard barbeques, beach resorts and intimate interiors, the seemingly banal takes on uncomfortable, and at times ominous tones.

Published by Pennsylvania Academy of the Fine Arts.Edited and with introduction by Harry Philbrick. Foreword by Susan Krane. Interview by Harry Philbrick, Jodi Throckmorton.

Over the past three decades, Eric Fischl (born 1948) has infused American figurative painting with fresh edginess and a new vocabulary of suburban disquiet. Richly illustrated with 148 works of art--including photographs, drawings, prints, sculptures and paintings from 1979 to the present-- Dive Deep: Eric Fischl and the Process of Painting explores Fischl’s rigorous and iterative creative process as well as his exemplary readiness to embrace new technological changes in the service of his art. Fischl’s commentary and preparatory works provide readers with a glimpse of the evolution of compositions and the intensive craft his painting involves. An interview with the artist reveals the nuances of Fischl’s painterly perspective and his extensive knowledge of art history, and places him squarely in the great tradition of artists who have defined the iconography of their age.

The paintings in Eric Fischl's Krefeld Project depict a middle-aged couple in the throes of a long-term relationship, isolated but together, bored but bound. Made from photographs of hired models who inhabited a rented house for four days while the artist snapped more than 2,000 pictures, the paintings show the couple before and after sex, in the shower and brushing teeth, on the toilet and on the phone. According to essayist and poet Geoffrey Young, "Fischl shows flickers of desire, but more frequently he notices the ways in which a couple exists in the same room, without contact. Hopperesque in their silence, the pictures are so confidently and technically alive that even these models fronting as a couple are redeemed in their uncertainty, acknowledged in their isolation, encouraged in their effort to spark the flint to feel it all again, the passion that is only rarely given to them."

Painter Francesco Clemente once said of Eric Fischl, "If life is what happens to you as you make other plans, then 'life' is Eric Fischl's subject matter." Though Fischl is best known for his figurative paintings, this monograph presents a 2007 series of 13 sculptures and corresponding large-format gouache works. Cast in polyester and resin, the life-sized, three-dimensional nudes enter into tense dialogue with the drawings, depicting the same element of human struggle that we find in Fischl's paintings. Naked bodies without context or reference, engaged in no specific narrative, offer any number of possible interpretations. They allow the viewer to indulge in careful observation, daring us to penetrate the surface patina of the sculptures to see if anything lies beneath. A special section includes a complete catalogue raisonée of the sculptural work from 1975 through 2007.

Published by Kerber.Edited By Martin Hentschel. Essays by Martin Hentschel and Robert Rosenblum.

In the spring of 2002, artist Eric Fischl, best known for his Neo-Expressionist paintings of the 1980s, organized a three-day photo session at the Haus Esters, in the Krefelder Kunstmuseen, Germany. For the project, the house was temporarily furnished with modern domestic necessities and "inhabited" by two actors, an attractive middle-aged man and woman. Photographs of everyday scenes have long been a component of Fischl's repertoire, but here he took pictures of a disruptive mixture of fact and fiction: actors, playing normal people, in an artificial domestic surrounding. From the approximately 2,000 photographs that the artist shot, he carefully chose a selection to be used as sketches for twelve large-scale paintings. The capture ambiguous, intimate, and strangely uncanny moments in the bedroom, the living room, the bathroom, the sunroom, and the dining room. It is these new works that appear here, embodying an essential expansion and synthesis of Fischl's previous work.

In the 1980s, American painter Eric Fischl mercilessly captured moments in the lives of the American middle classes. Among the painters of his generation, which most notably include David Salle and Julian Schnabel, Fischl is widely recognized as engaging particularly intensely with this typical national theme. As Fischl himself tells it, painting is a process that turns thoughts into feelings, and that uses form and color to create meaning: "...That is always what I am doing now when I paint: making meaning." Fischl's urge to go beyond formal painterly parameters and to allow subjectivity and content onto his canvases links him to younger painters like Luc Tuymans and Elizabeth Peyton, painters credited with a revival of the medium. In the 1990s, Fischl found new impulses and topics: foreign culture, religious rituals, age, and death now take center stage in his compositions. The motifs in his most recent series are based on digitally manipulated photographs of a sparsely furnished room. This catalogue presents an overview of Fischl's work, illustrating approximately 45 paintings and an equal number of drawings, all made between 1979 and 2001.